As the emerging Hollywood genre of ''cli fi'' continues to capture the world's imagination, the annual Cli Fi Movie Awards -- aka THE CLIFFIES -- honors and recognizes the most important cli fi movies of the year on an annual basis. For 2017, GEOSTORM is in contention for the Cli Fi Movie Awards. SEE THIS MOVIE! -- This blog serves as media outreach. For more info write: danbloom@gmail.com and see ''THE CLI FI REPORT'' at http://cli-fi.net

Thursday, July 28, 2016

Authors are part of the climate change problemOmair Ahmad an Indian PR guy on why INDIAN Authors are part of the climate change problem

WHY AMITIV GHOSH IS DEAD WRONG WHEN HE SAYS WRITERS IN THE WEST ARE NOT WRITING ABOUT CLIMATE CHANGE, NEITHER NOVELISTS OR JOURNALISTS OR POETS. OKAY IN INDIA, HIS NATIVE LAND, YES, and even Ghosh himself has shown himself afraid to tackle climate change in a novel even though he criticizes -- incorrectly in turns out -- other novelists for not tackling climate issues in their novels. Indians don't care that's care, and evem Ghosh himself does not care. If he did, he could off his 60 year old tuches and write a climate-themed novel for 2018 or 2020. But he won't. SEE BELOW, another silly article from the LAZY INDIAN PRESS:

In The Great Derangement, Amitav Ghosh has asked why one of the major issues of our time — climate change — has been neglected by the INDIAN literary community of which he is a part. HE KNOWS THAT NOVELISTS IN THE WEST HAVE FACED CLIMATE CHANGE IN DOZENS, HUNDREDS OF NOVELS, BUT HE WON"T ADMIT IT IN INDIA BECAUSE THAT WOULD SHOW THAT THE WEST IS MORE ADVANCED THAN INDIA AND GHOSH CANNOT HAVE ANY OF THAT, OH NO NO NO.

In South Asia, the answer is easy to see. By catering to an urban, prosperous and global community, INDIAN authors and publishers produce books that allow us INDIANs to ignore the damage taking place in the lives of the marginalised.

The INDIAN literary community is not innocently unaware, but actively complicit in a process that allows us INDIANs to ignore the damage that climate change is doing to the lives of the poor.

Let us be clear as to what the problem is. Pollution is a classic example of market failure, where the true cost of a process is not caught in the price attached to it. The carbon dioxide generated by transport, deforestation to make way for roads, the costs of the plastic wrapping when it is disposed off, all of these are not part of the price in the cherries imported from Australia that you pick up at a grocery store.

These are what economists call externalities — costs or benefits paid by somebody who did not choose to be part of the transaction. And somebody does pay the cost of these externalities, whether it is a beautiful village in Sikkim threatened by a glacial lake or an influx of mosquitoes, or it is villagers in West Bengal suffering from arsenic poisoning.

The striking similarity of all who pay the costs of these problems is that they are the poor, the people living in villages and the outer periphery. They are the marginal people of the countries – precisely the people that much of the INDIAN literary community is not only divorced from, but is actively running away from. This is true across Asia, with very few books even touching on the subject of water. EVEN INDIAN MASTER GHOSH DARES NOT WRITE ABOUT CLIMATE ISSUES IN A NEW NOVEL.

The production of INDIAN literature is measured by three main things: numbers of books sold, awards, and recognition both locally and globally through speaking activities at book festivals and the like. All of these, in one form or the other, exclude the participation of the very people most affected by climate change.

Myth of an aspirational readership in INDIA Working at one of India’s most widely read news magazines, I would often be frustrated when my editor shot down one story idea or other by saying, “This is not what our readers want.” In his mind, there was this mythical magazine reader that could afford to pay the INR 30 for the weekly shot of news we provided. This reader was not interested in what happened to the small town boys that became criminal dons in Bombay, nor was this interested in the lives of neglect most of India’s sportsmen lived in, no matter how many awards they had won – unless they were cricketers, of course.

These mythical readers were interested, though, in the new Rolls Royce just launched in India, priced at about INR 40 million, or just about USD 1 million at that time, in 2007.

These mythical readers are also who the literary publishers cater to – aspiration, middle class consumers who are far more interested in wasteful spending, even if only in their imagination, than in sustainable living. The grim challenges – or even small victories such as Chhewang Norphel’s artificial glaciers in Ladakh or a technological breakthrough to create a new arsenic filter – related to climate change are not the stuff of novels that publishers feel will sell. It may be that they are right, but if these stories are not commissioned in INDIA , if they are not published and promoted, how will we ever cultivate the INDIAN authors that can tease out the complexities of life in this increasingly fragile environment? See:The iceman of Ladakh, Indian scientists develop low-cost arsenic filterProblem with literary awards Beyond publication are the awards, and the major problem with these are that they are hardly any important ones within small countries. The big names of Indian fiction (and many of these are Indian only in origin, not by citizenship) – whether they are Salman Rushdie, VS Naipaul, Arundhati Roy, Aravind Adiga, Jhumpa Lahiri or even Amitav Ghosh – have largely won awards out of the country.

It is hard enough to translate the difference between the poor, or the rural to the rich and urban within India, to make the jump and be able to explain these issues to a global audience is nigh on to impossible.

It is little surprise that Naipaul is unable to explain, or even comprehend, the rural areas he describes in his Area of Darkness. Adiga’s Booker Prize winning The White Tiger does not even try, and calls the village from which the protagonist fled merely “the darkness”.

Roy’s and Ghosh’s books have local dynamics. In particular Ghosh’s earlier books such as the sci fi Calcutta Chromosome, The Shadow Lines, and cli-fi The Hungry Tide, may pave the way to highlight the value of local dynamics, but for most new INDIAN writers wishing to walk in the footsteps of the INDIAN literary greats is to walk away, to the urban and the global. Cossetted in air-conditioned spaces which keep the rising heat at bay, INDIANS write for an audience similarly cosseted, and both ignore the slow tragedy unfolding outside. Including Ghosh!

Voices in the margins The success of one type of fiction to directly address this issue – the ironic graphic novel, All Quiet in Vikaspuriby Sarnath Banerjee, is the exception that proves the point.

A tongue-in-cheek telling of a Delhi scarred by water wars, as the capital of India dries out and various middle class and upper middle class housing colonies face off in combat works because of how ludicrous it seems. The residents of these colonies do not have to look for water. They can imagine a scenario of travelling kilometres for the precious liquid only as satire.

Another type of fiction, undertaken in local languages, too shows promise. The work of Mahashweta Devi, one of the great Bengali authors, has consistently looked at the issues involving tribal communities and the marginalised poor.

But even this type of literature – often called regional literature, is often urban in nature, hiding the true costs of climate change playing out, in the dry fields, and the floods that hit the rural areas the worst.

INDIAN Literary festivals and problematic INDIAN funders There is the last refuge, of INDIAN book festivals and INDIAN book launches, where authors meet a wider public (often trying to sell or publicise their books). These are paradoxical spaces, as they are at the intersection of the privileged and (theoretically) all the people who want to attend. While it is possible that uncomfortable questions are raised at such venues, it is also clear that such events need funds.

These structures incentivise the creation of a literature that discourages the exploration of the issues of climate change. They can change – just as feminist literature, once a marginal subject, became a part of mainstream literature. But they will change only when we recognise the problems, not just as the choice that individuals make, but also the incentive structures that help nudge literature in this direction.

It is only then that we INDIANs will be able to confront and change the terms of debate in INDIA and learn from the West. What a background country we still are!

The human characters faced down a huge menagerie on the season finale of CBS’ ‘Zoo.’

Animals have suddenly turned against humans, fighting back unafraid after years of mistreatment. Lions rampage through African cities, while male rats begin reproducing and their offspring invade the United States.
Sounds pretty scary, right?Well, fear not—while it may be the reality of the CBS series Zoo, this biological nightmare will not come to pass in the real world any time soon.Based on James Patterson’s bestselling book, the show, which returns for its second season June 28, follows a safari guide, a journalist and a professor, among others, as they try to find a cure to save the human race. But for much of the first season the animals had the upper hand, which supervising producer Bryan Oh said was deliberate.
“We’re trying to dramatize that they’re as much victims of our hubris as anything,” Oh told the Observer. “These actions are the unintended consequences of climate change and what we’ve done to the planet.”The dramatization aspect is key, however, especially from a medical standpoint. The first clue that something is wrong comes when doctors notice that the pupils of the animals’ eyes are growing bigger (or “defiant” in the show’s terms).But according to Dr. Andrew Macintyre of the American Society for Biochemistry and Molecular Biology (ASBMB), while some genes predispose animals to be more aggressive, small genetic changes like the “defiant pupil” wouldn’t lead to a global panic.
“It’s quite far-fetched,” Dr. Macintyre told the Observer. “That couldn’t influence or cause a dramatic shift in behavior.”Gradually the characters on the show realize this as well, and their next target is Reiden Global, a Monsanto-like biotechnology company. They discover that all of Reiden’s products contain the “Mother Cell,” a DNA molecule that accelerates and replicates dormant genetic mutations, and break into the company’s headquarters to steal it.“There was always this eventuality,” Oh said. “This change to the animals was always on the table, but it may have never come to pass without the Mother Cell.”But Dr. Macintyre noted that “unnatural” mutations like the Mother Cell do not exist in the real animal kingdom.

&lt;img class="wp-image-626980 size-medium" src="https://nyoobserver.files.wordpress.com/2016/03/gettyimages-170130574.jpg?quality=80&amp;amp;w=300" alt="James Patterson, author of the book which inspired the CBS series 'Zoo.'" width="300" height="227" title="Is the Animal Uprising on James Pattersons Zoo Plausible?" /&gt;

James Patterson, author of the book which inspired the CBS series ‘Zoo.’

“Mutations are random—they hit different genes and different parts of DNA,” Dr. Macintyre explained. “Some mutations are silent because they have no discernible effect, but they also can’t be switched on or off.”A subplot about animals living in Japan having an accelerated biological clock because of the nuclear power plant explosion at Fukushima is similarly nonsensical, because DNA damage from radiation is random pointed out Dr. Macintyre.
Toward the end of the season, the band of heroes attempts to use the Mother Cell to manufacture a vaccine to treat the animals, which Dr. Macintyre said is the complete opposite of how vaccines work in real life.“A vaccine needs a healthy immune system to work,” he said. “It’s a preventative measure.”Despite these scientific snafus, Dr. Macintyre said he had watched the pilot of Zoo and found it entertaining, if far-fetched.
This is the exact reaction the creative team was hoping for, according to producer Oh.
“We know we’re summer popcorn,” he said. “We are entertainment first.”Oh also said, however, that he wanted the science sprinkled throughout the show to inspire viewers to learn more. He said season two would tackle scientific concepts like noncoding “junk DNA,” which doesn’t code in real life but on the show offers a possible new solution.
“We hope we have a compelling message, and that the science lends to the entertainment value,” Oh said.

Hollywood has not released any climate-themed feature films in 2016. At this time in history, in Anthrocenictechnicolor history, how could this happen?

RE: ''TROUBLE IN TINSELTOWN!'' = not one climate themed movie released in 2016. WTF? The first time in 13 years with NO CLI-FI MOVIE AT ALL. THE ENTIRE YEAR! NADA!

A climate-action friend of mine in the midst of writing an update on ''cli-fi'' films in Hollywood for 2016 for a major publication and it will appear later next week, as scheduled and if not then due to July 4 holidays then later in July, tells me....

.....in his search of the relevant databases (i.e. IMDB) this academic ''cli-fi storm chaser'' friend of mine, PHD, has not found any film released or scheduled for 2016 that makes any meaningful reference to climate change. !!!!

Yes, there's two movies -- ''Geostorm'' and ''A Sweet Spot in Time,''http://www.imdb.com/title/tt3743684/ -- which are scheduled for release in 2017, -- and you might be aware of some late 2015 releases (e.g. see link to imdb link ''Unnatural''), -- but in fact we are not seeing any full-length, fictional cli-fi film from Hollywood or independents like Sundance in 2016.

Does that square with your information?

If so, that means 2016 is the first time ***in 13 years*** that no full-length, fictional film has addressed climate change.

''Sweet Spot in Time'' is the personal journey of a 15-year-old fighting for his generation's future. It shows the world of 2100 - if we fail to act. This dramatic, but scientifically accurate, cli-fi story follows a character that has been separated from his family due to a climate and ecological disaster, and now has to travel inland to find salvation.

''A Sweet Spot in Time'' is the personal journey of a 15-year-old fighting for his generation's future. In an environmental battle that puts his destiny at risk, first-time director and musician Jonah Bryson gives audiences a new look at this controversial issue, and inspires them to act while the hour glass is still trickling sand. Seamlessly woven, is a epic and adventurous tale that shows the world of 2100 - if we fail to act. This dramatic, but scientifically accurate, story follows a character that has been separated from his family due to an ecological disaster, and now has to travel inland to find salvation. The movie leaves audiences hopeful, inspired, and motivated to act. Featuring astronaut Chris Hadfield, oceanographer Sylvia Earle, and musical input by Taylor Swift's band, this is a call to action for today's children to fix the mistakes of the past and save the future of tomorrow. Written by Jonah Bryson